Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
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Síða 35
... desire that can only fuel the sexist judgment of Riefenstahl as a fallen , even if seemingly naive , woman . She has appropriated the very terms of the cultural construction of the woman artist as shameless transgressor , which fuels ...
... desire that can only fuel the sexist judgment of Riefenstahl as a fallen , even if seemingly naive , woman . She has appropriated the very terms of the cultural construction of the woman artist as shameless transgressor , which fuels ...
Síða 38
... desire to exert control over others that may simultaneously overlook the larger system that joins us and them , self and other , Nazism and the ( precarious ) capitalist economy that spawned it.26 The Critique Concluded The process of ...
... desire to exert control over others that may simultaneously overlook the larger system that joins us and them , self and other , Nazism and the ( precarious ) capitalist economy that spawned it.26 The Critique Concluded The process of ...
Síða 84
... desire for education is founded not in a desire for Western emancipation , but in a desire to provide security for her widowed mother and younger sister . As Okeyo points out , " African women often define their advancement in terms of ...
... desire for education is founded not in a desire for Western emancipation , but in a desire to provide security for her widowed mother and younger sister . As Okeyo points out , " African women often define their advancement in terms of ...
Efni
The Power of the Image | 20 |
The Preface of a Spouse | 45 |
Veza CanettiBetween Fact and Fiction | 56 |
5 aðrir hlutar ekki sýndir
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action aesthetic African already appears artist attempt Avengers become begins body called camp Canetti characters cinema computational connection constitutes construction contemporary continued corporeal create critical critique cultural death desire difference direct discourse distinction effects Elias Emma escape example expression fact fantasies female feminine feminism feminist figure film Finsterlicht's forced Foreword function gender German gives historical identity issues Kino International Leni Riefenstahl living look machine male materiality matter meaning narrative Nazi never Notes object offers performance physical play political position possible practices present production propaganda prostitute question reading relation remain representation response returns Riefenstahl roles sexual shame signifier signs situation social society space specific story Street structure struggle suggests takes television thing traditional Veza voice Western woman women writes York